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<mask> (April 25, 1911 – April 23, 2014), nicknamed "<mask>", was a Cuban professional baseball pitcher. The right-handed Marrero pitched in Major League Baseball from  to  for the Washington Senators. Marrero made his major league debut when he was 38 years old, and was one of the oldest players in the league throughout the duration of his time in the major leagues. He was a popular star in his native Cuba, where he had a long and successful career in amateur baseball, pitching for Cuba in several Amateur World Series competitions, and playing several excellent seasons with the professional Cuban League and the minor league Havana Cubans. His nicknames in Cuba were "El Guajiro de Laberinto" (The Peasant from Laberinto), reflecting his rural origins, "El Premier", and "El Curvo." Marrero's pitches were primarily "slow stuff—curves, sliders and knucklers." Roberto González Echevarría provides the following description: "A bit plump, of less than average height [he was listed as  tall and ], with short arms and small hands, Marrero looked, in uniform, like someone in a baseball costume, not a player.He looked more like a Spanish grocer or peasant than an athlete." At age 102, <mask> was the oldest living former Major League Baseball player at the time of his death. Cuban career

Amateur play
<mask> was born on a farm called El Laberinto in the district of Sagua la Grande, Cuba; he was of Canary Islands descent. He played for various teams in his rural region, then in 1938 at age 26 or 27 was invited to pitch for the Cienfuegos team of the Cuban Amateur League. The league played on Sundays from March through September. The team was sponsored by a department store, which employed him during the week. Marrero was one of the most popular and successful pitchers in Cuban Amateur League history, winning 123 games from 1938 to 1945.According to González Echevarría, Marrero as an amateur was considered a bigger drawing card than any professional pitcher in Cuba. From 1939 to 1943, Cuba hosted the second through sixth Amateur World Series competitions at La Tropical Stadium in Havana. <mask> was a pitcher for the Cuban national team at the second Amateur World Series in 1939, the first in which Cuba competed. Only three teams competed and Cuba easily won, with <mask> contributing a victory in the only game he pitched. In the third Amateur World Series in 1940, <mask> led the Cuban team to victory, going 3–2 with a 1.15 earned run average (ERA), and was named the most valuable player of the series. In the fourth Amateur World Series in 1941, Marrero won three games, but the series ended in a tie between Cuba and the Venezuela team. Venezuela was relying on the pitching of Daniel Canónico, who went 4–0 with an ERA of 1.69 in 32 innings.Cuba challenged Venezuela to a playoff game, which was scheduled to allow Canónico time to rest. On October 23, 1941 <mask> faced Canónico for the championship. Venezuela, helped by an error by the Cuban third baseman, scored 3 runs in the bottom of the first inning; Marrero was pulled after 2 innings, and Canónico held the Cubans scoreless until the ninth inning. Venezuela held on to win the game 3–1, winning their first Amateur World Series. In 1942, Marrero had his best amateur season, going 22–5 with a 1.22 ERA. For the fifth Amateur World Series, the Cuban national team was selected by a fan poll, and Marrero was the top vote-getter. The series featured a rematch between Marrero and Venezuela's Canónico.This time the Cubans won 8–0, and the Cuban team regained the Cup. In 1943 <mask> was suspended from the Amateur League for six months for accepting payment for a game and consequently was not selected for the Amateur World Series team. In 1944. he returned with a 21–8 season and was again selected for the Amateur World Series team. The series was played in Caracas, Venezuela and ended in controversy. There was a three-way tie among Mexico, Venezuela, and Cuba, forcing a playoff. However, after some questionable calls by the umpires, who were provided by Venezuela, Cuba withdrew from the tournament in protest. In 1945.Marrero again pitched for Cienfuegos in the Amateur League. He was caught pitching in a non-league game a second time and given an indefinite suspension. He then decided to turn professional. Cuban (Winter) League
In the winter of 1946/47, <mask> signed with the Oriente team of the National Federation league. Marrero had a good season, leading the league in victories with an 8–5 record. After the end of the Federation season, he switched to the Almendares team of the regular Cuban League for the last month of the season. Although he played only a minor role—pitching in four games and going 1–0—he participated on the winning team of one of the most famous pennant races in Cuban League history.In the spring of 1947, <mask>, as part of a Cuban all-star team, had a chance to pitch against major league teams that were playing in Havana during spring training. He beat the New York Yankees in a rain-shortened 7-inning game, allowing one run and four hits. A week later (now pitching for the minor league Havana Cubans), he suffered a tough 1–0 loss against the Brooklyn Dodgers, allowing four hits and striking out eight. The next Cuban League season, 1947/48, <mask> returned to Almendares in the Cuban League (which was now officially sanctioned by Major League Baseball) and pitched perhaps his best season, going 12–2, setting the Cuban League all-time records for shutouts (eight) and ERA (1.12) and winning the most valuable player award. However, with Almendares tied with the Habana team with one game left, he was unable to clinch the pennant as he lost to Habana's Alex Patterson in a 3–2 game. In 1948/49. Marrero went 6–4, as Almendares easily won another pennant.As the league champions, Almendares represented Cuba in the first Caribbean Series played in Havana in 1949. Cuba swept the series with <mask> contributing a one-run, four-hit, complete-game victory in the only game he pitched. In 1949/50 Marrero went 7–3 and led the Cuban League with an ERA of 2.66, as Almendares again won the pennant. At the second Caribbean Series, Marrero went 0–2 as Cuba was upset by Panamá. The next winter Marrero went 11–7 with a 2.37 ERA, leading the Cuban League in wins and innings pitched. Almendares, however, was edged out by Habana for the pennant in a one-game playoff. In 1951/52 Marrero went 6–9, and the next winter he went 8–8.In 1953/54, Marrero went 7–5 and helped Almendares regain the pennant. In the sixth Caribbean Series Marrero pitched a shutout in his only appearance, but Puerto Rico won the series. In 1954/55 Marrero went 2–3 and began to be used primarily in relief. Almendares won the pennant and went to the Caribbean Series, but Marrero did not make an appearance. In 1955/56 Marrero became the manager of Almendares, but the team fell to last place, making his tenure as manager a short one. He pitched in four games and went 1–0. After being released by Almendares, <mask> signed with the Tigres de Marianao for the 1956–1957 season, where he pitched 19 innings in seven games with a 1.37 ERA.Marianao won the pennant and <mask> pitched in his last Caribbean Series, lasting 3 innings against Panamá in a game that was eventually won by his teammate, Jim Bunning. Cuba went on to win their fourth victory in nine series. The next season was <mask>'s last, as he pitched only four innings in three appearances. <mask>'s career Cuban League record was 69–43. His .600 winning percentage is the sixth highest in league history among pitchers with at least 40 wins. (Of the five pitchers with a higher career winning percentage, three are in the U.S. Baseball Hall of Fame—José Méndez, Ray Brown and Martín Dihigo; the other two are Carlos Royer and Camilo Pascual.)Despite not pitching in the Cuban League until he was 35 years old, his 69 victories ranks 10th on the Cuban League all-time list. Minor league baseball
From 1947 to 1949, Marrero pitched for the Havana Cubans in the Florida International League. The team was a minor league affiliate of the Washington Senators. In 1947 Marrero went 25–6 and led the league in wins (25), complete games (28), strikeouts (251), shutouts (seven) and ERA (1.66). On July 12, 1947, Marrero pitched a no hitter against the Tampa Smokers, allowing only one base runner on a hit by pitch. The Cubans finished in first place with a 105–45 record. The Cubans also won the playoffs against the Miami Sun Sox and the Tampa Smokers, with Marrero pitching two shutouts.In 1948, Marrero went 20–11 with a 1.67 ERA. The Cubans again finished in first place with a 97–57 record, their third consecutive title. In the playoffs they beat both the Lakeland Pilots and the Tampa Smokers. In 1949 <mask> won the league MVP award after going 25–8 with 11 shutouts and a 1.53 ERA. He set a league record by pitching 44 consecutive scoreless innings. Havana again finished in first place with a 95–57 record (the fourth of their five consecutive first-place finishes) and beat Miami Beach in the first round of the playoffs. In the second round, however, the Cubans were swept by Tampa, with Marrero losing to Tampa's Oscar del Calvo.After five years with the major league Washington Senators, <mask> returned to Havana to play with the minor league team from 1955 to 1957. In 1954, the team had moved to the International League and had been renamed the Havana Sugar Kings. Marrero didn't travel with the team, pitching only for their home games. In 1955 he went 7–3, pitched five shutouts (one of them a one-hitter), and had a 2.69 ERA. In 1956, the 45-year-old pitcher pitched only 45 innings and went 3–1. His only loss was to an even older pitcher, Miami's Satchel Paige. In 1957, Marrero pitched only five innings in three games, as his pitching career came to an end.Major League career

From 1950 to 1954, Marrero pitched for the American League Washington Senators. During that period, Washington's roster also included a number of other Cuban players, such as pitchers Sandy Consuegra and Camilo Pascual and catcher Mike Guerra. The Senators were a second division team, never finishing higher than fifth place in the eight-team league while Marrero pitched for them. His first major league appearance came on April 21, 1950. In 1950 he pitched 152 innings in 27 games (19 of them starts), and finished with a 6–10 record and a 4.50 ERA. In 1951, <mask> led his team in wins and innings pitched, going 11–9 in 187 innings with a 3.90 ERA. On April 26, 1951, he pitched a one-hitter against the Philadelphia Athletics, beating them 2–1.The only hit given up by <mask> was a home run by Barney McCosky. In 1952, he went 11–8 with a 2.88 ERA (ninth in the league), as Washington improved to a 78–76 record. The following year he went 8–7 with a 3.03 ERA. In 1954 he was the oldest player in the major leagues, as he slipped to 3–6 with a 4.75 ERA. On January 24, 1955, the 43-year-old <mask> was released by the Senators. Marrero finished his major league career with a 39–40 record and a 3.67 ERA, which was eight percent better than the league average (after adjusting for ballpark differences). He pitched 51 complete games, including seven shutouts, in his 94 starts.He was selected to the 1951 American League All-Star team, though he didn't play; at age 40, he was the oldest first-time All-Star to that point. Post-playing career
After retiring as a player, Marrero became a coach for the Havana Sugar Kings. He was listed as a scout in  by the Boston Red Sox during Bucky Harris's term as Boston's general manager. After the Cuban Revolution, <mask> was one of the most prominent players to remain in Cuba under Fidel Castro, thereby providing a link between the old professional Cuban League and the new amateur Cuban national baseball system and its Cuban National Series. He was a pitching coach for several years for the Havana Industriales and was also a roving pitching instructor. <mask> is a respected figure in Cuba; his portrait is shown on a mural at Estadio Latinoamericano, and he threw out the first pitch at the 1984 baseball World Championship. He also threw out the first pitch at the 1999 Baltimore Orioles – Cuban national baseball team exhibition series.In 2006, <mask> was featured along with his Almendares teammate, Hall of Famer Monte Irvin, in a documentary about Cuban baseball, "The Bases Are Loaded." He did not draw a major league pension and was reported to be living modestly in a room in a relative's Havana apartment. As recently as early 2007, a baseball tour of Cuba advertised that participants would have an opportunity to visit with the 95-year-old Marrero. On April 25, 2013, Marrero celebrated his 102nd birthday with family and friends, "an unlit Cuban cigar in his mouth and a baseball cap on his head." Earlier in the year, he received a $20,000 payout from Major League Baseball, a payment granted to those who had played between 1947 and 1979, which had been held up due to issues surrounding the United States's embargo on Cuba. Marrero was a fan of the current Cienfuegos team. Marrero died on April 23, 2014, at his home in Havana just 2 days shy of his 103rd birthday.According to Wikipedia's List of MLB player Centenarians, <mask> is the second oldest living major league baseball player of all time (102 years, 363 days). Career statistics

Cuban League

Source: Figueredo, pp. 279, 284–286, 293–295, 309, 324, 339–342, 356, 370, 381, 396, 412, 423, 435. Caribbean Series

Source: Figueredo, pp. 315, 333, 389, 428. Minor leagues

Source:  Figueredo, pp. 291, 305–306, 320, 406, 420, 432.Major League Baseball

Source: . Retrieved on March 16, 2007. See also

List of centenarians (Major League Baseball players)
List of centenarians (sportspeople)

Notes

References

External links

 Biography and career highlights. "Cuba's and World's Oldest Ballplayer Celebrates a Centennial Anniversary". Bjarkman, P. 18/4/11. https://web.archive.org/web/20110425171701/http://www.baseballdecuba.com/EngnewsContainer.asp?id=2484

1911 births
2014 deaths
American League All-Stars
Boston Red Sox scouts
Cuban centenarians
Havana Cubans players
Havana Sugar Kings players
Indios de Ciudad Juárez (minor league) players
Major League Baseball pitchers
Major League Baseball players from Cuba
Cuban expatriate baseball players in the United States
Men centenarians
Mexican League baseball pitchers
People from Sagua la Grande
Washington Senators (1901–1960) players

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<mask><mask> (born October 26, 1958) is an American philosopher, academic, researcher, and translator. He is a professor in the Department of Philosophy at Purdue University, where his work is focused on 19th and 20th century continental philosophy. <mask> is known for his interpretation of the work of the French philosopher Gilles Deleuze and is the author of Essays on Deleuze, which has been partially translated into Turkish, Slovenian, Spanish, Estonian, and Japanese. He has translated into English texts by Gilles Deleuze, Michel Foucault, Pierre Klossowski, Michel Serres, and Isabelle Stengers. He is the co-director of The Deleuze Seminars project. Education
<mask> received his Ph.D. from the Department of Philosophy at the University of Chicago in 1997, after receiving an M.A. in Religious Studies from the University of Chicago in 1983 and a B.A.in Literature from Wheaton College in Illinois. He did language study at the Paris-Sorbonne University and Beijing Language and Culture University. Career
After receiving his doctorate from Chicago in 1997, <mask> was assistant professor at Grinnell College from 1997 to 1998 and a Vice-Chancellor’s Postdoctoral Fellow at the University of New South Wales in Australia from 1999 to 2001. He joined the faculty at Purdue University in 2001, where he was promoted to Associate Professor in 2005 and became Professor of Philosophy in 2014. From 2014-2017, <mask> was part of an international collaborative project between Purdue and Paris Nanterre University on Analytic and French Philosophy in the 20th Century that sponsored academic exchanges between French and American students and faculty. Since 2019, <mask> has been the Director of the interdisciplinary program in Philosophy and Literature at Purdue. Research
<mask>’s research is focused on 19th and 20th century European philosophy.He also works and teaches in aesthetics, phenomenology, Nietzsche, Kant, Spinoza, Bergson, social and political philosophy, and the philosophy of technology. <mask> is best known for his work on the French philosopher Gilles Deleuze. His thesis was focused on Deleuze’s philosophy, and he translated two of Deleuze’s books into English: Francis Bacon: The Logic of Sensation and Essays Critical and Clinical. Deleuze’s work touched on most domains of philosophy, and <mask>’s published papers have analyzed many of them. In epistemology, he has explored the implications of Deleuze’s definition of philosophy as the creation of concepts. In metaphysics, he has explicated Deleuze’s well-known concepts of the simulacrum, the virtual, and univocity. In aesthetics, he has written on the "logic of sensation" that Deleuze developed in his writings on painting, cinema, and literature.In ethics, he has shown how Deleuze derived an "ethics of immanence" from the works of Nietzsche, Leibniz, and Spinoza. <mask> explored Deleuze’s relationship with this contemporaries, analyzing the different concepts of resistance developed by Deleuze and Foucault; Deleuze and Badiou’s different notions of multiplicity; and the ways in which Deleuze and Derrida respectively represented the two traditions of immanence and transcendence in French philosophy. <mask> has also published studies of lesser-known French thinkers who influenced Deleuze, such as Raymond Ruyer, André Leroi-Gourhan, and Pierre Klossowski, as well as a number of recent thinkers such as <mask>. Connolly, Catherine Malabou, Paul R. Patton, and Slavoj Žižek. Essays on Deleuze
<mask>ze was published in 2012 and was called a "a milestone in Deleuze studies." Keith Ansell-Pearson called it a "delightfully rich volume of essays: the essays are uniformly excellent," adding that "no one, at least in the English-speaking world, has done more to illuminate Deleuze's philosophical inventiveness than <mask>," although he suggested that <mask> did not "adequately explore" the connection of "Nietzsche's Nachlass remark on overturning Platonism" with "Deleuze's emphasis on the problem of simulacra." Kenneth Noe from Southern Illinois University stated that, "<mask><mask>’s work on the great French philosopher Gilles Deleuze (1925-1995) is owed a debt by English-speaking readers of Deleuze that is difficult to overstate." He noted that the book "records <mask>’s significant contribution to Deleuze studies while also laying foundations for new avenues of research."The Deleuze Seminars
<mask> is the founder and co-director, with Charles J. Stivale, of an online digital humanities project, The Deleuze Seminars, whose aim is to translate into English the seminar lectures that Deleuze gave at the University of Paris 8 at Vincennes/St. Denis between 1971 and 1987, and to make them available at the project’s website. Awards and honors
1993 - 1994  - Bourse Chateaubriand en sciences sociales et humaines (Chateaubriand Fellowship), French Government. 2004 - <mask> Memorial Lecture, Southern Illinois University. 2013 - Bradley Memorial Lecture in Speculative Philosophy, Memorial University of Newfoundland. 2018 - 2019 - Outstanding Graduate Teacher, College of Liberal Arts, Purdue University. Selected bibliography

Book
Essays on Deleuze.Edinburgh: Edinburgh University Press, 2012. .

Edited books
Between Deleuze and Foucault. Eds. Nicolae Morar, Thomas Nail, and <mask><mask>, 2016. . The Cambridge Companion to Deleuze. Ed. Henry Somers-Hall and <mask><mask>. Cambridge: Cambridge University Press, 2012. .
Deleuze: A Philosophy of the Event, together with The Vocabulary of Deleuze, by François Zourabichvili.Ed. and with an introduction by Gregg Lambert and <mask><mask>. Trans. Kieran Aarons. Edinburgh: Edinburgh University Press, 2012. .
Deleuze and Ethics. Ed. Nathan Jun and <mask><mask>.Edinburgh: Edinburgh University Press, 2011. .
Gilles Deleuze: Image and Text. Ed. Eugene W. Holland, <mask><mask>, and Charles J. Stivale. London: Continuum, 2009. . Selected translations
Klossowski, Pierre. Living Currency. Ed.Vern Cisney, Nicolae Morar, and <mask><mask>. London: Continuum, 2017. .
Serres, Michel. Thumbelina. Trans. <mask><mask>. London: Rowman and Littlefield, 2014. Foucault, Michel.The Gay Science, interview with Jean Le Bitou. Trans. Nicolae Morar and <mask><mask>. Critical Inquiry 37 (Spring 2011), 385-403. Deleuze, Gilles. Francis Bacon: The Logic of Sensation. Minneapolis: University of Minnesota Press, 2003. .
Stengers, Isabelle.The Invention of Modern Science. Minneapolis: University of Minnesota Press, 2000. .
Pierre Klossowski, Nietzsche and the Vicious Circle. Chicago: University of Chicago Press, 1998. .

References

American philosophers
Living people
1958 births
Wheaton College (Illinois) alumni
University of Chicago alumni
Purdue University faculty

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<mask>-Stewart, 1st Baronet (6 December 1897 – 3 September 1961), born <mask>, was a British banker, Army officer and politician. He was a National Liberal Member of Parliament for East Fife from 1933 until his death, and was the sessional chairman of the Parliamentary Party in 1945. He played an important role in negotiating the unity of the National Liberals with the Conservatives, but was unable to persuade the Liberal Party to join as well. Early life
Henderson-Stewart was born at Crieff, Perthshire, the son of Matthew Stewart. He attended Morrison's Academy in the town, interrupting his education to join the Royal Artillery and serve in the First World War. Promoted to Acting Captain in February 1918, he was wounded in action. He left the Army in 1919, placed as a Captain on the Reserve of Officers, and went to the University of Edinburgh where he obtained a Bachelor of Commerce degree in 1922 and a Master of Arts degree in economics in 1923.He was in the Territorial Army from 1921 to 1925. Liberal Party candidacies
At the 1923 general election Stewart was Liberal Party candidate for Leicester East, but finished in third place with only 27% of the vote. In the 1924 general election he fought Derby as the sole Liberal candidate, opposing J. H. Thomas who was a senior Labour Minister. His task was reckoned "a difficult one" and he again finished bottom of the poll. During the 1920s Henderson-Stewart worked at the British Overseas Bank in London. His political activity occurred through the Land and Nation League, a Liberal body which had been set up to promote the land policy which was being promoted by David Lloyd George. By 1929 he was Secretary of the League, and he was selected as the Liberal candidate for Dundee.Like Derby this was a two-member constituency but unlike Derby the Conservatives nominated only one candidate, and it was recognised that Liberal and Conservative voters (each of whom had two votes) would use their second vote for the other party's candidate. Henderson-Stewart finished as runner-up, some 13,712 votes from winning a seat but having put in a creditable performance. East Fife election
In January 1933, Henderson-Stewart was adopted as Liberal National candidate for East Fife, where the death of the sitting Member of Parliament Sir <mask> Millar had precipitated a by-election. He obtained the support of the Unionists, although he faced opposition not only from the Labour Party and the Scottish National Party but also the Agricultural Party (whose candidate proclaimed himself a Conservative) and an unofficial Liberal who supported free trade. Lord Snowden, the former Labour Chancellor, sent a message of support to the unofficial Liberal, which Henderson-Stewart described as "little more than an ill-natured outburst",

Member of Parliament
Henderson-Stewart won with a comfortable majority of 9,135, and in his victory speech attacked the "wrecking tactics" of the Agricultural and unofficial Liberal candidates. He gained a reputation for diligent constituency work, among the farmers and fishermen of Fife, and soon after his election opposed a reduction in the grant to the Forestry Commission which he considered a false economy. He often spoke on economic questions.On foreign affairs, he spoke in 1934 in favour of the United Kingdom staying out of any conflict between France and Germany; that July he stated that the innermost chamber of world peace lay in Anglo-American friendship. Foreign affairs
In the summer of 1935, Henderson-Stewart went on a tour of European horse markets, and on his return wrote a pamphlet entitled "Stop the Export of Butchery Horses" which called for a legal ban on the export trade. In July 1938, Henderson-Stewart was vice-chairman of the Empire Development Conference which was held at the Empire Exhibition in Glasgow. In December 1938, Henderson-Stewart called for a determined and comprehensive approach to rearmament, and regretted that the Government had proclaimed its approach as limited. In March 1939 he was a co-signatory of a Parliamentary motion put forward by Anthony Eden and Winston Churchill which called for a National government "on the widest possible basis" to enable Britain to put forward its maximum military effort; the motion was not welcomed by the Chamberlain government. Second World War
Before the outbreak of war, Henderson-Stewart sought to ensure that the system of National Service in the armed services worked smoothly; in November 1939, he criticised the operation of the scheme in calling up agricultural workers when the government was calling for farmers to plough more land. In the Norway Debate of May 1940, Henderson Stewart voted against Chamberlain.After Churchill took over as Prime Minister, Henderson-Stewart enlisted again in the Royal Artillery in which he served from September 1940 to June 1941. Henderson-Stewart was made the Scottish Whip for the Liberal Nationals in December 1942. In the spring of 1944 he went with a Parliamentary delegation to the West Indies to look at conditions there; on his return he said he had found "a blazing loyalty" to the Empire. In October 1944 he voted against the Government on the issue of compensation for landowners for adverse planning decisions. Liberal unity
With the Liberal candidates again divided between the Liberal Nationals and Opposition Liberals in the 1945 general election, Henderson-Stewart sought a reunification, without success. When Parliament reassembled after the election, Henderson-Stewart was chosen as the Chairman of the Liberal National Parliamentary Party for the session. This made him unofficial party leader; however he served only for one year.In September 1947 he wrote to The Times suggesting that the Liberal Party should consider merging with the Conservatives, arguing that Liberalism "stands four square in opposition to Socialism" and should work together with Churchill. Shortly after, Henderson-Stewart's group formally joined with the Conservatives. At the 1950 general election, the Liberal Party nominated David Alexander Freeman a 22-year-old student at St Andrews University as a candidate against Henderson-Stewart, the first time they put a candidate up against him, and the controversy between them was described as "bitter". Henderson-Stewart increased his majority while the Liberal lost his deposit. In the new Parliament he kept up his campaign for the local fishing industry, calling for immediate action to prevent a crisis. He wanted controls on fish imports. Ministerial office
The Conservatives' return to power in 1951 led to Henderson-Stewart's appointment as Joint Parliamentary Under-Secretary of State at the Scottish Office in February 1952.Among his responsibilities were the fishing industry. In August of that year he was invited to speak to the European Youth Conference in Midlothian, at which he declared that "the mother country of a great Commonwealth and Empire" could not surrender vital elements of sovereignty. In December 1952, Henderson-Stewart was accused of lying by the Labour MP John Rankin, angry that the Government Chief Whip had closed the debate after Henderson-Stewart had spoken. As the Minister responsible for the Scottish Education Department, Henderson-Stewart tried to encourage Scottish parents to keep their children in school long enough to sit the Leaving Certificate. He also dealt with the early stages of the dispute between the United Kingdom and Iceland over fishing rights, when an agreement was made by which the Icelandic government agreed not to try to extend its four-mile limit. He was also involved in a proposal for a River Forth tunnel, which he described as a brilliant idea but unsuited to the physical conditions. Baronetcy
Henderson-Stewart left the Government when Harold Macmillan became Prime Minister, although he was made a Baronet simultaneously.He was created Baronet of Callumshill in the County of Perth on 28 March 1957; the Court of the Lord Lyon granted a warrant allowing him to change his surname to Henderson-Stewart (and by Deed Poll). University appeal
In September 1957 Henderson-Stewart denounced Frank Cousins of the Transport and General Workers' Union as "just another demagogue playing for power" when Cousins declared his opposition to wage restraint. He became chairman of the Appeal Committee for St Leonards and St Katherine's Schools in St Andrews. He was also elected Chairman of the Scottish Unionist Members Committee in November 1960. Henderson-Stewart died suddenly in Dundee in September 1961. References

Sources
"Sir J. Henderson-Stewart" (Obituary), The Times, 4 September 1961. "Who Was Who", A & C Black
M. Stenton and S. Lees, "Who's Who of British MPs" Vol.IV (Harvester Press, 1981)

External links

People educated at Morrison's Academy
Unionist Party (Scotland) MPs
UK MPs 1931–1935
UK MPs 1935–1945
UK MPs 1945–1950
UK MPs 1950–1951
UK MPs 1951–1955
UK MPs 1955–1959
UK MPs 1959–1964
Royal Artillery officers
British Army personnel of World War I
Alumni of the University of Edinburgh
Baronets in the Baronetage of the United Kingdom
1897 births
1961 deaths
People from Crieff
Members of the Parliament of the United Kingdom for Fife constituencies
National Liberal Party (UK, 1931) politicians
Liberal Party (UK) parliamentary candidates
Ministers in the third Churchill government, 1951–1955
Ministers in the Eden government, 1955–1957

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Sir James Henderson
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<mask> (born January 14, 1941) is an American actress. She is the recipient of many accolades, including an Academy Award, a Primetime Emmy Award, three Golden Globe Awards, and a BAFTA Award. In 2011, the government of France made her an Officer of the Order of Arts and Letters. Her career began in the early 1960s on Broadway. She made her screen debut in the 1967 film The Happening, and rose to fame that same year with her portrayal of outlaw Bonnie Parker in Arthur Penn's Bonnie and Clyde, for which she received her first Academy Award nomination. Her most notable films include the crime caper The Thomas Crown Affair (1968), the drama The Arrangement (1969), the revisionist western Little Big Man (1970), an adaptation of the Alexandre Dumas classic The Three Musketeers (1973), the neo-noir mystery Chinatown (1974) (for which she earned her second Oscar nomination), the action-drama disaster The Towering Inferno (1974), the political thriller Three Days of the Condor (1975), the satire Network (1976) (for which she won an Academy Award for Best Actress), and the thriller Eyes of Laura Mars (1978). Her career evolved to more mature and character roles in subsequent years, often in independent films, beginning with her controversial portrayal of Joan Crawford in the 1981 film Mommie Dearest.Other notable films in which she has appeared include Supergirl (1984), Barfly (1987), The Handmaid's Tale (1990), Arizona Dream (1994), Don Juan DeMarco (1995), The Twilight of the Golds (1997), Gia (1998) and The Rules of Attraction (2002). <mask> has also performed on stage in several plays, including A Man for All Seasons (1961–63), After the Fall (1964), Hogan's Goat (1965–67), A Streetcar Named Desire (1973) and was awarded the Sarah Siddons Award for her portrayal of opera singer Maria Callas in Master Class (1996). Protective of her private life, she rarely gives interviews and makes very few public appearances. After romantic relationships with Jerry Schatzberg and Marcello Mastroianni, Dunaway married twice, first to singer Peter Wolf and then to photographer Terry O'Neill, with whom she had a son, Liam. Early life and education
<mask> was born in Bascom, Florida, the daughter of Grace April (née Smith), a housewife, and John MacDowell <mask> Jr., a career non-commissioned officer in the United States Army. She is of Ulster Scottish, English, and German descent. She spent her childhood traveling throughout the United States and Europe.Dunaway took dance classes, tap, piano and singing, graduated from Leon High School in Tallahassee, Florida, and then studied at Florida State University and the University of Florida, and graduated from Boston University with a degree in theatre. She spent the summer before her senior year in a summer stock company at Harvard's Loeb Drama Center, where one of her co-players was Jane Alexander, the actress and future head of the National Endowment for the Arts. In 1962, at the age of 21, she took acting classes at the American National Theater and Academy. She was spotted by Lloyd Richards while performing in a production of The Crucible, and was recommended to director Elia Kazan, who was in search of young talent for his Lincoln Center Repertory Company. She also studied acting at HB Studio in New York City. Shortly after graduating from Boston University, Dunaway was appearing on Broadway as a replacement in Robert Bolt's drama A Man for All Seasons. She subsequently appeared in Arthur Miller's After the Fall and the award-winning Hogan's Goat by Harvard professor William Alfred, who became her mentor and spiritual advisor.In her 1995 autobiography, <mask> said of him:  "With the exception of my mother, my brother, and my beloved son, Bill Alfred has been without question the most important single figure in my lifetime. A teacher, a mentor, and I suppose the father I never had, the parent and companion I would always have wanted, if that choice had been mine. He has taught me so much about the virtue of a simple life, about spirituality, about the purity of real beauty, and how to go at this messy business of life." Career

Early films and breakthrough, 1967–1968
<mask>'s first screen role was in the comedy crime film The Happening (1967), which starred Anthony Quinn. Her performance earned her good notices from critics; however, Roger Ebert of The Chicago Sun-Times panned the performance saying that she "exhibits a real neat trick of resting her cheek on the back of her hand." That same year, she had a supporting role in Otto Preminger's drama Hurry Sundown, opposite Michael Caine and Jane Fonda. Filming proved to be difficult for Dunaway as she clashed with Preminger, who she felt didn't know "anything at all about the process of acting."She later described this experience as a "psychodrama that left me feeling damaged at the end of each day." <mask> had signed a six-picture deal with Preminger but decided during the filming to get her contract back. "As much as it cost me to get out of the deal with Otto, if I'd had to do those movies with him, then I wouldn't have done Bonnie and Clyde, or The Thomas Crown Affair, or any of the movies I was suddenly in a position to choose to do. Beyond the movies I might have missed, it would have been a kind of Chinese water torture to have been stuck in five more terrible movies. It's impossible to assess the damage that might have done to me that early on in my career." Preminger's film did not meet critical or box-office success, but <mask> retained notice enough to earn a Golden Globe Award nomination for New Star of the Year. <mask> had tried to get an interview with director Arthur Penn when he was directing The Chase (1966) but was rebuffed by a casting director who did not think that she had the right face for the movies.When Penn saw her scenes from The Happening before its release, he decided to let her read for the role of the bank robber Bonnie Parker for his upcoming film, Bonnie and Clyde (1967). Casting for the role of Bonnie had proved to be difficult and many actresses had been considered for the role, including Jane Fonda, Tuesday Weld, Ann-Margret, Carol Lynley, Leslie Caron, and Natalie Wood. Penn loved Dunaway and managed to convince actor and producer Warren Beatty, who played Clyde Barrow in the film, that she was right for the part. Besides Dunaway's being a comparative unknown, Beatty's concern was her "extraordinary bone structure," which he thought might be inappropriate for Bonnie Parker, a local girl trying to look innocent while she held up smalltown Texas banks. However, he changed his mind after seeing some photographs of Dunaway taken by Curtis Hanson on the beach: "She could hit the ball across the net, and she had an intelligence and a strength that made her both powerful and romantic." Dunaway only had a few weeks to prepare for the role and, when she was asked to lose weight to give her character a Depression-era look, she went on a starvation diet, stopped eating and dropped thirty pounds. The film was controversial on its original release for its supposed glorification of murderers and for its level of graphic violence, which was unprecedented at the time.It performed well at the box office and elevated <mask> to stardom. Roger Ebert gave the film a rave review and wrote, "The performances throughout are flawless. Warren Beatty and <mask>, in the title roles, surpass anything they have done on the screen before, and establish themselves (somewhat to my surprise) as major actors." The film was nominated for ten Academy Awards, including Best Picture, and <mask> received her first nomination for Best Actress. Her performance earned her a BAFTA Award for Best Newcomer and a David di Donatello for Best Foreign Actress, and she was now among the most bankable actresses in Hollywood, as she later recalled. "It put me firmly in the ranks of actresses that would do work that was art. There are those who elevate the craft of acting to the art of acting, and now I would be among them.I was the golden girl at that time. One of those women who was going to be nominated year after year for an Oscar and would win at least one. The movie established the quality of my work. Bonnie and Clyde would also turn me into a star." <mask> followed the success with another hit, The Thomas Crown Affair (1968), in which she played Vicki Anderson, an insurance investigator who becomes involved with Thomas Crown (Steve McQueen), a millionaire who attempts to pull off the perfect crime. Norman Jewison hired <mask> after he saw scenes from Bonnie and Clyde before its release. As  Arthur Penn had needed to persuade Warren Beatty to cast <mask>,  Jewison had to convince McQueen that she was right for the part.The film emphasized <mask>'s sensuality and elegance with a character who has remained an influential style icon. The role required over 29 costume changes and was a complex one to play. "Vicki's dilemma was, at the time, a newly emerging phenomenon for women: How does one do all of this in a man's world and not sacrifice one's emotional and personal life in the process?" Despite his original reluctance to work with her, McQueen later called <mask> the best actress he ever worked with. <mask> was also very fond of McQueen. "It was really my first time to play opposite someone who was a great big old movie star, and that's exactly what Steve was. He was one of the best-loved actors around, one whose talent more than equaled his sizable commercial appeal."The film was immensely popular and was famed for a scene where <mask> and McQueen play a chess game and silently engage in a seduction of each other across the board. Career setbacks, 1969–1973

Following the completion of The Thomas Crown Affair, <mask> leapfrogged France's new wave directors to begin filming in Italy Vittorio de Sica's romantic drama, A Place for Lovers (1968). This film was with Marcello Mastroianni, where she played a terminally ill American fashion designer in Venice who has a whirlwind affair with a race car driver. Although <mask> had always wanted to avoid romances with her co-stars, she began a love affair with Mastroianni that lasted for two years. The film was an artistic disappointment and a commercial failure. In 1969, <mask> appeared in The Arrangement, a drama directed by Elia Kazan, based upon his novel of the same title, opposite Kirk Douglas. The film did poorly at the box office, receiving mostly negative reviews, although <mask> was praised, with Roger Ebert writing that her acting "is not only the equal of in Bonnie and Clyde, but is, indeed, the only good acting she has done since".Vincent Canby of The New York Times wrote that she was "looking so cool and elegant that the sight of her almost pinches the optic nerves". Also in 1969, The Extraordinary Seaman, a comedy adventure directed by John Frankenheimer and also starring David Niven that she shot right after Bonnie and Clyde, was released to poor reviews and proved to be a commercial failure. Despite protests from her agent, Dunaway turned down many high-profile projects in order to spend time with Mastroianni. In 1969, Dunaway took a supporting role as a favor to Arthur Penn in his western, Little Big Man. In a rare comic role, Dunaway played the sexually repressed wife of a minister who helps raise and seduce a boy raised by Native Americans, played by Dustin Hoffman. The film was widely praised by critics and was one of Dunaway's few commercial successes at this point. That same year, she appeared in the lead role in Puzzle of a Downfall Child (1970), an experimental drama directed by Jerry Schatzberg and inspired by the life of model Anne St. Marie.The film failed to generate commercial interest, though it earned for <mask> a second Golden Globe nomination, for Best Actress – Motion Picture Drama. The film remained in obscurity over 40 years, until it was revived at the 2011 Cannes Film Festival in honor of <mask>. Involved in domestic issues in Italy with Mastroianni, after some months away from the industry she finally found her next role in the western Doc (1971), which tells the story of the gunfight at the O.K. Corral and of one of its protagonists, Doc Holliday. During the filming, <mask> realized how much she had missed working. That same year, she went on to make the French thriller The Deadly Trap with her Lincoln Center compatriot Frank Langella, not with a director from the already crested New Wave (Jean-Luc Godard had originally made contributions to the first script of Bonnie and Clyde), but with the French postwar director held in the widest respect, René Clément. Only five months after the first day of shooting, the film was screened at the 1971 Cannes Film Festival, but was not entered into the main competition.Neither Doc nor The Deadly Trap had generated much attention, either critically or financially, so <mask> accepted an offer to star in a movie for television, The Woman I Love (1972), in which she portrayed Wallis Simpson. She returned to film in 1973 with Stanley Kramer's drama, Oklahoma Crude, opposite George C. Scott. It was an ambitious project in which <mask> had to play another complex character, "a woman who is caught between her ambition and her femininity. When the film opens, she is as tough as nails, a shoot-first-and-ask-questions-later woman. Along the way, she slowly opens herself up to her estranged father and a lover. I understood that dilemma well, the conflict between ambition and love, the fear of trusting someone else with your love." The film was a modest success but <mask> received good notices for her performance.In his review of the film, Roger Ebert noted how she had never topped the work she did in Bonnie and Clyde, and said that her career had been "rather absentminded" ever since. He praised her performance in Oklahoma Crude, saying that she played the role with "a great deal of style," while adding, "Perhaps she has decided to get back to acting." In 1972, following the filming of Oklahoma Crude, <mask> returned to the stage in an adaptation of Harold Pinter's Old Times. She found the stage more challenging than film. "Old Times affected me in a lot of very complex ways. The play itself reminded me during a difficult point in my life that there are a million facets to life. There is never just one answer.Professionally, if I hadn't taken that step to go back to the stage, in a serious way, I think I would have suffered for it." The following year, <mask> portrayed Blanche DuBois in a Los Angeles stage adaptation of Tennessee Williams's A Streetcar Named Desire. "It was a fun performance for me, but hard, very draining. At the height of the madness each night, I would go from standing straight up to falling to my knees, in one swift move." Williams himself praised <mask> for her performance, "He told me later that he thought I was brave and adorable and reminded him of a precocious child, and that my performance ranked with the very best. It was high praise indeed coming from him." Also in 1973, <mask> appeared as the villainous Milady de Winter in Richard Lester's The Three Musketeers, based on Alexandre Dumas' novel of the same name, co-starring Michael York, Oliver Reed, Richard Chamberlain and Charlton Heston.Eventually, producers decided to split the film into two parts: The Three Musketeers and The Four Musketeers (released in 1974). Critics and audiences alike praised the film for its action and its comic tone, and it was the first in a line of successful projects for <mask>. Resurgence and acclaim, 1974–1981
Director Roman Polanski offered <mask> the lead role of Evelyn Mulwray in his mystery neo-noir Chinatown (1974). Although its producer, Robert Evans, wanted Polanski to consider Jane Fonda for the role, arguing that <mask> had a reputation for temperament, Polanski insisted on using Dunaway. She accepted the challenging and complex role of Mulwray, a shadowy femme fatale who knows more than she is willing to let Detective J.J. Gittes (played by Jack Nicholson) know. Dunaway got along well with Nicholson, describing him later as a "soul mate," but she clashed with Polanski, who had a reputation for being dictatorial and controlling on a set. "Roman was very much an autocrat, always forcing things.It ranged from the physical to the mental. He was very domineering and abrasive and made it clear he wanted to manipulate the performance. That approach has never worked with me." Two weeks after the filming started, the two had a confrontation that became notorious. Polanski pulled one of <mask>'s hairs out of her head, without telling her, because it was catching the light. <mask> was offended, describing his act as "sadistic" and left the set furious. "It was not the hair, it was the incessant cruelty that I felt, the constant sarcasm, the never-ending need to humiliate me."Years later, both shared their admiration for each other, with Polanski saying that their feud was not important – "It's the result that counts. And she was formidable," while <mask> admitted that "it was way too much made out of it," added that she enjoyed working with Polanski, calling him "a great director," and stated that Chinatown was "possibly the best film I ever made." Despite the complications on the set, the film was finished, released to glowing reviews and ultimately became a classic. It made back its budget almost five times, and received 11 Academy Award nominations. <mask> received a second Best Actress nomination, and also received a Golden Globe nomination and a BAFTA nomination. Upon the release of the film, producer Robert Evans was full of praise for Dunaway. "She has everything—beauty, talent, neurosis.She's one of the great strange ones. When the lights go out and that face comes out of the dark and she looks at you with those big mysterious eyes, I tell you, it's a very compelling thing. She has something we haven't seen on the screen for a long time. She has witchery. She's a femme fatale." That same year, <mask> appeared in a television adaptation of After the Fall with Christopher Plummer. She played the lead role, which was for her "like a dream come true.As with Bonnie, I knew the territory well. Maggie (her character) was a completely wounded soul, a girl who had grown up on the wrong side of the tracks." She next played Paul Newman's fiancée who is trapped in a burning skyscraper along with several hundred other people in the all-star disaster epic, The Towering Inferno (1974). The film became the highest-grossing film of the year, further cementing <mask> as a top actress in Hollywood. Also in 1974, <mask> married Peter Wolf, the lead singer of the rock group The J. Geils Band. At this time, she

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 felt "exhausted from the constant and intense pressures of the work," and at the last moment pulled out of The Wind and the Lion (1975), in which she was to costar with Sean Connery, to concentrate on her married life. Her next feature was Sydney Pollack's political thriller, Three Days of the Condor (1975).Her character was to be held hostage by a CIA analyst, played by Robert Redford, and <mask> was required to display fear that she might be raped. However, she had difficulty not breaking into laughter during the shoot, as "the idea of being kidnapped and ravaged by Robert Redford was anything but frightening." The film was a critical and commercial success, and <mask>'s performance, which was praised by the critics, earned her a fifth Golden Globe nomination. In his review of the film, Roger Ebert called her character "the very embodiment of pluck," and said that, "She has three lines of dialogue that brings the house down. They're obscene and funny and poignant all at once, and Dunaway delivers them just marvelously." <mask> took a break from acting and spent almost a year turning down projects. She passed on a role in Alfred Hitchcock's final film, the comic thriller Family Plot, which she later lamented.She returned to the screen in 1976 with the Holocaust drama Voyage of the Damned. The story was inspired by true events concerning the fate of the  ocean liner carrying Jewish refugees from Germany to Cuba in 1939. That same year, <mask> appeared in the Paddy Chayefsky-scripted satire Network as the scheming TV executive Diana Christensen, a ruthless woman who will do anything for higher ratings. She loved the script and later said this was "the only film I ever did that you didn't touch the script because it was almost as if it were written in verse." She pursued the role over the objections of her husband, Peter Wolf, and her confidant, William Alfred, who regarded Christensen as too heartless and were concerned that people would confuse her with the character. However, <mask> believed it was "one of the most important female roles to come along in years" and went along with Chayevsky's conception and director Sidney Lumet's warning that she would not be allowed to sneak in any weeping or softness, and that it would remain on the cutting room floor if she did. The film, a success in its own day, is frequently discussed today due to its almost prophetic take on the television industry.<mask>'s performance was lauded, with Vincent Canby of The New York Times saying that she "in particular, is successful in making touching and funny a woman of psychopathic ambition and lack of feeling." <mask>'s performance in Network earned her many awards. She was named Best Actress in the Kansas City Film Critics Awards, and she received her sixth Golden Globe nomination for Network and was awarded Best Actress in a Motion Picture – Drama. In early 1977, the Academy Awards nominated Network for ten awards, with <mask> winning the Best Actress award. Also in 1976, <mask> appeared as the lead in the made-for-television movie, The Disappearance of Aimee, in which she co-starred with Bette Davis. Following her Oscar win, Dunaway took another break from acting to figure out her personal life. As her marriage was falling apart, she began a relationship with English photographer Terry O'Neill, who took one of his most famous pictures, The Morning After, showing Dunaway poolside at the Beverly Hills Hotel with her Oscar the morning after the ceremony.In 1978, <mask> returned to the screen in Irvin Kershner's thriller Eyes of Laura Mars, about a fashion photographer who sees visions of a killer murdering people. The film was a success at the box office and <mask> received positive reviews for her performance, with Janet Maslin writing for The New York Times that she was "perfect for her role." She played supporting roles in The Champ (1979), as the film offered her the chance to play the role of a mother, "which was emotionally where I wanted to be in my life," and The First Deadly Sin (1980), as she wanted to work with Frank Sinatra. In 1981, Dunaway played the title role in Evita Peron, a television miniseries based on the life of the famed First Lady of Argentina. That same year, <mask> portrayed actress Joan Crawford in the adaptation of her daughter Christina's controversial memoirs, Mommie Dearest, in which she had depicted her adoptive mother as an abusive tyrant, who only adopted her four children to promote her acting career, making quite a stir as the first celebrity tell-all book. Dunaway accepted the role after meeting producer Frank Yablans and director Frank Perry, who both assured her that they wanted to tell the real story of Joan Crawford and not just a tabloid version of her life. "Though Christina's book was obviously an exploitation book, the first one of its kind, my task was to portray a woman, a full woman who she was in all her facets, not just one.I tried to illuminate who this woman was. But it was more than just about being angry, it was about trying to examine and explore the forces that undermined her." To play the role, <mask> researched Crawford's films and met with many of her friends and co-workers, including director George Cukor. Filming proved difficult for her as she was almost never out of character. "If your mind is on a woman who is dead and you're trying to find out who she was and do right by her, you do feel a presence. I felt it at home at night sometimes. It wasn't pleasant.I felt Joan was not at rest." After the infamous wire hangers tantrum scene, <mask> was so hoarse from screaming that she lost her voice. Frank Sinatra drove her to see a throat specialist and shared his own tips on how to preserve her voice. The film opened in 1981 and was a commercial success despite negative reviews. <mask>'s uncanny performance earned her two Best Actress award nominations by the New York Film Critics Circle Awards and the National Society of Film Critics Awards, and was lauded by critics. Janet Maslin, while dismissing the film as incoherent, wrote that <mask>'s performance was "a small miracle" and praised her energy and commitment to the role. The frequently harsh Pauline Kael raved about Dunaway's performance, stating that she had reached new heights as an actress and surmised that it would be difficult for Dunaway to top her performance as Crawford.Vincent Canby also praised <mask>, writing that "Mommie Dearest doesn't work very well, but the ferocious intensity of <mask>'s impersonation does, as does the film's point of view, which succeeds in making Joan Crawford into a woman far more complicated, more self-aware and more profoundly disturbed than the mother remembered in Christina Crawford's book." Director Sidney Lumet stated that it was "a brilliant, an extraordinary performance. The courage of that evil that she brings to it, I think that's just major acting." Although the film became a cult classic as well as one of her most famous characters, <mask> expressed her regrets for playing Crawford, as she felt "it was meant to be a window into a tortured soul. But it was made into camp." She also blamed the film for hurting her career and almost never agreed to discuss it in interviews afterwards. Film, television, and theatre, 1982–1999
In 1982, <mask> appeared in a television adaptation of Clifford Odets's dramatic play The Country Girl as the wife of a washed-up alcoholic singer played by Dick Van Dyke, whom she later described as "one of the sweetest and funniest men in the world", but admitted "Though it was a valiant effort on all our parts, and there were moments I thought were good and true, the remake fell short of our hopes and certainly of the original.But doing it helped remind of that I do love this business of acting, something the Crawford movie had come close to making me forget." That same year, she returned to the New York stage with William Alfred's second theatre project for her, The Curse of an Aching Heart. In her role she later felt she had been miscast, "It was a little bit too star-heavy with me in it. The play would have been better with just the simplest of women." Despite her mixed feelings about it, her performance earned her good reviews from the critics, with Frank Rich writing for The New York Times that "<mask>'s absence from the theater has not dimmed her stage technique. She's usually in command." During this time, <mask> moved to England with her partner Terry O'Neill, whom she married in 1983, and, being more interested in her married life, only took on work that was convenient for her.That same year, she returned to the screen in Michael Winner's period melodrama The Wicked Lady, in which she played an 18th-century highway robber. The film proved to be a critical and commercial failure. "Though I loved making The Wicked Lady, in the end it just didn't have the juice it needed to be a hit. It seemed to never quite decide whether to be a farce or a drama, and so it failed by being neither." In 1984, <mask> played the lead villain in the superhero movie Supergirl. She felt that "the film was really just a send-up, a spoof, and I had a lot of fun with Selena (her character)" but later admitted she was furious with the director Jeannot Szwarc, "Every time I tried to do something funny, he wouldn't let me. He said, "you have to be the straight person".I always wanted to do comedy, but it's daunting when you've not done it before." Also in 1984, <mask> appeared in a television miniseries, Ellis Island, which earned her a second Golden Globe Award, for Best Supporting Actress – Series, Miniseries or Television Film. The following year, she starred in the miniseries, Christopher Columbus. She also appeared in two Agatha Christie adaptations, Ordeal by Innocence and Thirteen at Dinner (which was made for television). Though the work was involving, <mask> struggled to find artistically fulfilling roles during this period in England. "I missed doing movies. The television scripts I was getting were thin.There is no comparison between those and a Chinatown script." "Though I had worked steadily in England, it felt as if I had disappeared completely. I was rapidly becoming invisible. I felt increasingly that my career was being limited to, and limited by, the projects that were being mounted there." Following her divorce from O'Neill in 1987, <mask> returned to the United States and attempted to rebuild her career by appearing in several independent dramas. <mask> was widely praised for her performance as an alcoholic opposite Mickey Rourke in Barbet Schroeder's drama Barfly (1987). Based on a novel by Charles Bukowski, the film was very important to her, as she later explained, "This character, who has given over her days and nights to a bottle, is my way back to the light.This is a role that I care deeply about. I haven't felt this passion for a character since Network. I saw the promise of a comeback for me in the deglamorized face of Wanda, a woman of sweet vulnerability." The film was a small success at the box office, but received excellent reviews from critics and <mask> earned her sixth Golden Globe Award nomination, for Best Actress – Motion Picture Drama. Pauline Kael wrote that "<mask> plays the self-destructive Wanda with a minimum of fuss... she wins your admiration by the simplicity of her effects", and Roger Ebert felt that both Rourke and Dunaway "take their characters as opportunities to stretch as actors, to take changes and do extreme things". After Barfly, which remained one of her favorite films, Dunaway tried to be careful about the roles she chose, but was also faced with the reality she had to work to support herself and her child. In 1988, she appeared in the period drama The Gamble but felt that the best part of this experience turned out to be meeting her co-star Matthew Modine.The following year, she produced and starred in an adaptation for television of Olive Ann Burns' historical novel Cold Sassy Tree. Dunaway co-starred Richard Widmark and Neil Patrick Harris as an enchanting dressmaker who lightens up the lives of a young boy and his grandfather, whom she marries to the town's disapproval. The film aired on TNT to great success and became one of Dunaway's favorite experiences. "What gave Cold Sassy its heart were the people who were involved. It was an incredible collaboration, and I treasure the experience as much as the result, of which I am extremely proud." That same year, she agreed to take part in Wait Until Spring, Bandini with Joe Mantegna as a favor to Tom Luddy, who had produced Barfly. Also in 1989, she appeared in the Italian drama Crystal or Ash, Fire or Wind, as Long as It's Love as she wanted to work with director Lina Wertmüller.In 1990, she was reunited with Robert Duvall, with whom she had co-starred in Network, in Volker Schlöndorff's adaptation of the Margaret Atwood novel of the same name, The Handmaid's Tale. The film did not do well at the box office but <mask>'s performance earned her good reviews. Roger Ebert wrote that, "Duvall and <mask> provide the best moments in the movie, he by showing the unconscious egotism of the male libido, she by showing that in all times and all weathers, some kinds of women will gauge their happiness by the degree to which their family's exterior appearance matches the accepted values of society." Double Edge (1992) by Israeli director, writer and actor Amos Kollek offered her a role she wanted to play, a New York Times reporter who has been sent to Jerusalem for three weeks to cover the Israeli-Palestinian conflict. All of these were smaller movies that never manage to draw the attention of a mass audience. The following year, <mask> accepted a supporting role in the thriller The Temp, as she felt the project had the potential to be a mainstream hit, and was a chance for her to reconnect with a larger audience. The film proved to be a critical and commercial failure.Four weeks before its release, Paramount decided to re-shoot the final scene, much to <mask>'s displeasure, as her character was going to be turned into the murderer. "Once again, I could see myself being thrown into playing the extreme — what was initially conceived as a character in the tradition of Diana in Network was being turned into a high-gloss female executive/slasher. The new ending wasn't enough to salvage the film, though. By the final scene, it didn't matter who was the killer, the film had been dead for an hour at least." Also in 1993, <mask> was cast as Johnny Depp's love interest in Emir Kusturica's surrealist comedy-drama Arizona Dream. The film, in which she played a woman who dreams of building a flying machine, premiered in Europe to great acclaim, and received the Silver Bear — Special Jury Prize at the Berlin International Film Festival. <mask> was very proud of the film, and believed that her role could bring her career to higher heights than ever.However, Warner Bros. elected to re-edit Kusturica's film, cutting and changing it. <mask> was dismayed to find that some of her best scenes were left out of the American version. Warner Bros. released the film in United States in 1994 to positive reviews, but little box office. That same year, <mask> was cast in the short-lived CBS sitcom, It Had to Be You. Around that time, she was contacted by NBC who wanted her to take on the role of a female sleuth, more in the vein of Columbo than Murder, She Wrote. As the prospective series was being developed, <mask> contacted Columbo star Peter Falk, wanting his advice on how to approach playing a sleuth character. While discussing the role, Falk told <mask> about a Columbo script that he had written himself.It's All in the Game featured a seductive woman who plays a game of cat-and-mouse with Lt. Columbo in the midst of a murder. Falk had written the script some years prior, saying that he could not find the right actress to take on the role. He offered her the role, and <mask> accepted immediately. The 1993 TV movie proved a success, nominated for several Golden Globe and Emmy Awards. <mask> was recognized with the Primetime Emmy Award for Outstanding Guest Actress in a Drama Series, saying it was that moment when she felt like she was truly home. "I was overwhelmed by the generosity of spirit my colleagues extended me that night. It was like being wrapped up in a warm embrace.Though this is more often than not a town of grand illusions and transitory friendships, the moment seemed heartfelt, and touched me deeply." With the prospective detective show not working out, Dunaway became interested in returning to the stage. She auditioned to replace Glenn Close in the musical Sunset Boulevard, a stage version of 1950 film of the same name. The composer and producer Andrew Lloyd Webber cast <mask> in the famed role of Norma Desmond, and <mask> began rehearsing to take over the LA engagement when Close moved the show to Broadway. Tickets went on sale for <mask>'s engagement, but shortly after the rehearsals started, Webber and his associates announced that Dunaway was unable to sing to their desired standards. They announced that when Close finished her engagement, the show would shut down completely. Dunaway filed a lawsuit, claiming that Webber had damaged her reputation with his claims.The case went to court and a settlement was later reached, but <mask> and the producers have not discussed it. In 1995, <mask> reunited with Johnny Depp in the romantic comedy Don Juan DeMarco, in which she played Marlon Brando's wife. A hit at the box office, the film was praised for its romance and the performances of the three main characters. That same year, Dunaway published Looking for Gatsby, a memoir she co-wrote with Betsy Sharkey, which earned her great reviews. Mark Harris of Entertainment Weekly wrote in his review of the book that "to read her accounts of her Oscar-nominated performances as the taut, sexy, neurotic femmes fatales of Bonnie and Clyde, Chinatown, and Network is to learn from an expert about the instincts, collaborations, and compromises that go into great film acting". The following year, Dunaway was awarded a star on the Hollywood Walk of Fame and starred in the family comedy Dunston Checks In, the crime thriller The Chamber, which reunited her with her Bonnie and Clyde co-star Gene Hackman, and the directorial debut of actor Kevin Spacey, Albino Alligator. Also in 1996, Dunaway returned to the stage, playing famed opera singer Maria Callas in the U.S. national tour of the Tony Award winning play Master Class by Terrence McNally.Callas was one of <mask>'s favorite characters she ever played. "That woman changed an art form, and not many people can say that.

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texts:
 Callas is to opera what Fellini is to cinema." Similarities were made by the press between the career and personalities of Callas and <mask> as both were seen as perfectionists whose run-ins with directors had them castigated as prima donnas. "I think the play is really about what it takes to do something in life, and its original in that, because there's not a play I know of that has been written about that. This is about an uncompromising artist and a professional who will stop at almost nothing to serve the art that she loves. She said it over and over again in many of her interviews: "It's not a question of discipline, it's a question of love, of what you do out of the passion for your art."And she's right. She was all about feeling — that's why I love this role so much." The tour was a great success and earned <mask> rave reviews for her performance, as well as the Sarah Siddons Award. Her performance as the matron of a wealthy Jewish family in turmoil in the drama The Twilight of the Golds (1997) earned her a Screen Actors Guild Award nomination for Outstanding Performance by a Female Actor in a TV Movie or Miniseries. In 1998, she starred with Angelina Jolie in Gia, a biographical film about the rise and fall of supermodel Gia Carangi. Playing the small but key role of Carangi's agent, <mask> was well reviewed and won her third Golden Globe Award, for Best Supporting Actress – Series, Miniseries or Television. The following year, <mask> appeared in the remake of The Thomas Crown Affair, and Roger Ebert argued in his review of the film that she "had more electricity in 1968 and still does" compared to actress Rene Russo who was cast in her original role.Also in 1999, <mask> portrayed Yolande of Aragon in Luc Besson's historical drama The Messenger: The Story of Joan of Arc. Independent films and hiatus, 2000–2015

In 2000, <mask> appeared in the James Gray-directed crime film The Yards as Charlize Theron's mother. Although failing to perform at the box office, the film was received with positive reviews. That same year, she turned down the opportunity to play a drug addict in Requiem for a Dream and the role went to Ellen Burstyn, who received an Academy Award nomination for her performance. In 2001, <mask>'s role in Running Mates earned her a Golden Globe nomination for Best Supporting Actress in a Series, Miniseries or Television Film. In 2002, she played Ian Somerhalder's rich Xanax-popping mother in Roger Avary's adaptation of Bret Easton Ellis' novel, The Rules of Attraction. She served as a judge on the 2005 reality show The Starlet, which sought, American Idol-style, to find the next young actress with the potential to become a major star.In 2006, <mask> guest-starred in Kiss Kiss, Bye Bye an episode of the crime drama CSI: Crime Scene Investigation because she was a huge fan of the show. She also appeared on Touched by an Angel, Alias and Grey's Anatomy. In 2008, <mask> agreed to star in a low-budget Welsh horror film, Flick, for a fraction of her usual $1 million fee after falling in love with the script. She called the writer and director David Howard personally to accept the part of a one-armed American detective, saying it was "a really original story". The film premiered at the Raindance Film Festival. That same year, she criticized Hollywood's treatment of older women, saying: "I am furious that they think I'm too old to play the love interest of guys like Jack Nicholson and Clint Eastwood. Why should I play sisters and mothers while guys like Jack and Clint, who are older than me, have on-screen lovers half their age?"In 2009, <mask> began shooting a film version of the McNally play Master Class, starring herself as Maria Callas, Al Pacino (as Aristotle Onassis), Val Kilmer, Alan Cumming, her son <mask> O'Neill and lyric soprano Danielle de Niese (the latter two as opera students). As film roles became more difficult to find, <mask> bought the rights to the play after the 1997 tour and announced her intention of writing, directing and starring in the film. The production however was a disaster and financing the project has been one of the many obstacles. "I want to do it my way. I'm not going to sell it out to a studio. You have to raise money. You have to get private investors and it takes a long time to get it right.It takes 10 years. People hear <mask> and think she has a lot of money, but I don't because I've spent a lot. Not tonnes. I spent what I want to spend on this movie and you have to have skin in this game. You have to take risks." In 2013, she confirmed that she had completed the first half of the film and planned to shoot the rest soon after. However, it was announced in June 2014 that after nearly 20 years of owning the film rights, <mask> had decided to withdraw from the project.In 2011, a photo of <mask> taken by Jerry Schatzberg in 1970 was chosen as the 64th annual Cannes Film Festival poster backdrop. The festival organizers described it as a "Model of sophistication and timeless elegance, it is an embodiment of the cinematic dream that the Festival de Cannes seeks to maintain". During the festival, <mask> and Schatzberg appeared at a special screening of Puzzle of a Downfall Child, earning a standing ovation upon their entrance. In 2013, <mask> was the first recipient of the Leopard Club Award and made a rare personal appearance at the Locarno International Film Festival to accept the award. In 2014, <mask> was recognized as the guest of honor by the Lumière Film Festival. Organizers praised the "immense contribution she has made to the emergence of the independent American films of the sixties and seventies, and the contribution is of the highest caliber". Her attendance at the festival was described as an "exceptional event".<mask> received a standing ovation by a crowd of 5,000, and declared in an emotional speech following the tribute she received, "My fans and my friends have supported me in this search for all these years, and I thank you from all of my heart, and without you, I would not be the same <mask>." Also in 2014, <mask> had to pull out of a French drama called Macadam Stories, in which she was going to play the lead, due to health issues, and was replaced by Isabelle Huppert. The following year, it was announced that <mask> was writing a book about her experiences making Mommie Dearest but the project never materialized. Return to film and theatre, 2016–present
In 2016, <mask> made a rare public appearance at the TCM Classic Film Festival where she hosted a screening of Network and also joined in conversation with Ben Mankiewicz for a Q&A session in which she discussed her decades-spanning career. Although she stated in a 2013 interview she felt her acting career was "pretty much over", <mask> told Mankiewicz she had no intention to retire: "We live for work. We live for what we do. I just want to keep working.It's where I'm happiest." That same year, she was cast in a supporting in the second season of Hand of God but was ultimately replaced by Linda Gray due to "some scheduling conflicts and some other issues" according to Ben Watkins, creator of the show. Also in 2016, Dunaway guest-starred as herself in the season finale of season two of the mockumentary series Documentary Now!. In 2017, Dunaway returned to acting with a cameo role in the horror-thriller The Bye Bye Man, a small part in the Christian drama The Case for Christ and a supporting role in the psychological thriller Inconceivable,  also starring Nicolas Cage and Gina Gershon. The critic Frank Scheck of The Hollywood Reporter found "distressing that Dunaway can't find more dignified projects at this point in her estimable career". Also in 2017, Dunaway reunited with her Bonnie and Clyde co-star Warren Beatty at the 89th Academy Awards, in celebration of the film's 50th anniversary. After being introduced by Jimmy Kimmel, they were given a standing ovation as they walked out onto the stage to present the Best Picture Award.They were given the wrong envelope and <mask> incorrectly announced La La Land as Best Picture, instead of the actual winner, Moonlight. This became a social media sensation, trending all over the world. <mask> was left "completely stunned" when Oscars crew members came on stage to explain that there had been a mistake and later said she felt "very guilty" about the incident, describing it as "one of the worst moments I've ever had". That same year, <mask> was honored at the Dallas International Film Festival where she was presented with the Dallas Star Award. In 2018, <mask> and Beatty returned to present Best Picture at the 90th Academy Awards, earning a standing ovation upon their entrance, making jokes about the previous year's flub. In 2019, more than thirty years since her performance in The Curse of the Aching Heart, <mask> planned to return to Broadway with an updated version of Matthew Lombardo's one-woman play Tea at Five, which was first staged at Hartford Stage in 2002. She would portray Katharine Hepburn being particularly drawn to the complexities of the play and the character, saying, "Hepburn was a brilliant actress.Her aura on screen was unique. That, coupled with the wide array of roles she played, made her an inspiration to me and many others. She had a lot of class, too, and the innate ability to project intelligence, both on and off screen. You can't help but want to explore that and learn more about her." The three week try-out in Boston met critical appreciation: Patti Hartigan of The Boston Globe felt that <mask> gave a "bravura performance" and wrote that she "inhabits the role and goes beyond mere mimicry. Of course, she captures The Voice – waspy, reedy, patrician – but she also brings a mix of fragility and strength to the role, maintaining the straight spine but also letting that stiff upper lip quiver ever so slightly when grief overtakes her." Christopher Caggiano of The Arts Fuse gave the play a mixed review but praised <mask>, writing that she "does manage to remind us why, despite her relative absence from the stage and the screen in the last 30 years, she remains a Hollywood legend.She has a palpable emotional intensity, and gives you the sense that entire scenes are playing out behind her eyes as part of her backstory. She's a legend for a reason." Tea at Five was pitched to be her triumphant return to Broadway. However, following three weeks at the Huntington Theatre Company in Boston, <mask> was released from the play, reportedly due to altercations between her and crewmembers. An assistant fired by Dunaway filed a lawsuit against the actress in August 2019 alleging homophobic verbal harassment. <mask> will next appear in Visceral, a film directed by Frédéric Jardin also starring Georgina Campbell. In July 2021, Variety reported that Dunaway appears in the new controversial film The Man Who Drew God.Legacy and reputation
<mask> is regarded as one of the greatest and most beautiful actresses of her generation, as well as a powerful emblem of the New Hollywood. Director John Huston, who played <mask>'s father in Chinatown, stated in a 1985 interview that he found her to be "quite extraordinary". Robert Evans, who produced Chinatown, also described her as "extraordinary", and affirmed that "no one could've played her part as well". Stephen Rebello of Movieline wrote in a 2002 article, "Though fiercely modern, an ideal female analog for screen machos like Steve McQueen and the young Jack Nicholson, she also radiated the stuff vintage movie stars are made of. Any actress today would be lucky to have a fraction of her films on her resume." Cannes Film Festival artistic director Thierry Fremaux said, "She has one of the most wonderful filmographies of any actress. Look at her movies from the '70s for example – she only made good choices.She's had an incredible career." Through her career, Dunaway worked with many of the 20th century's greatest directors—Elia Kazan, Sidney Lumet, Arthur Penn, Roman Polanski, Sydney Pollack and Emir Kusturica among them, and several of the films she starred in became classics. In 1998, the American Film Institute ranked Bonnie and Clyde, Chinatown and Network on their list of the 100 best American movies ever made. Her roles as Bonnie Parker and Joan Crawford were respectively named 32nd and 41st on the AFI's list of the fifty greatest screen characters in the villain category. Elizabeth Snead wrote in her review for USA Today of <mask>'s memoirs that she was "the epitome of a modern, mature, sexy woman" and Mark Harris of Entertainment Weekly felt that "<mask> is a rarity in the land of stars (and star bios) – a tough, smart, committed pro". In 1994, <mask> was ranked 27th by People Magazine on a list of the 50 most beautiful people and in 1997 she was ranked 65th by Empire Magazine on a list of the 100 top stars in film history. Famously demanding, with an attention to detail that sometimes drove costars and directors mad, Dunaway believed she was often mistaken for being as cold and calculating as some of the women she portrayed.Her clashes with Roman Polanski on the set of Chinatown earned her a reputation for being difficult to work with. Upon the release of the film, Polanski told a reporter for Rolling Stone that he considered <mask> "a gigantic pain in the ass", but added that he had "never known an actress to take work as seriously as she does. I tell you, she is a maniac." Bette Davis described <mask> as the worst person she had ever worked with in an interview with Johnny Carson in 1988, calling her "totally impossible", "uncooperative', and "very unprofessional". <mask> denied Davis' claims in her autobiography, writing "Watching her, all I could think of was that she seemed like someone caught in a death throe, a final scream against a fate over which no one has control. I was just the target of her blind rage at the one sin Hollywood never forgives in its leading ladies: growing old." In his 1996 book Making Movies, Sidney Lumet slammed <mask>'s reputation for being difficult as "totally untrue", and called her a "selfless, devoted, and wonderful actress".Director Elia Kazan described <mask> as "a supremely endowed, hungry, curious, bright young talent", and added: "<mask> is a brilliant actress and a shy, highly-strung woman. She is intelligent, and she is strong-willed." Like Lumet, Kazan felt she was not difficult, but a perfectionist who was never satisfied. "The artist is rarely, if ever, satisfied. The artist is frequently grateful and intermittently amazed, but he or she is never satisfied. That <mask> is unlikely to be satisfied with her efforts—or those with whom she works—is not a caprice; it is not the willful misbehavior of a spoiled actress: This is how artists operate." Johnny Depp, who co-starred with <mask> in Arizona Dream and Don Juan deMarco, called her a misunderstood artist."She's just uncompromising as an actress, and I think that's a positive thing." Maria Elena Fernandez of the Los Angeles Times wrote in a 2005 article about Dunaway that "in her case, the behavior many call 'difficult' seems clearly linked more to passions than to ego". In her autobiography Looking for Gatsby, Dunaway confronted this reputation and described herself as a "perfectionist":

Personal life
In 1962, Dunaway started a romance with stand-up comedian Lenny Bruce that lasted for a year. She was engaged to photographer Jerry Schatzberg from 1967 to 1968. The two remained friends and <mask> later starred in his first film as a director, Puzzle of a Downfall Child (1970). During the filming of A Place for Lovers (1968), Dunaway fell in love with her co-star Marcello Mastroianni. The couple had a two-year-live-in relationship.<mask> wanted to marry and have children, but Mastroianni, a married man, could not bear to hurt his wife and refused, despite protests from his teenage daughter Barbara and his close friend Federico Fellini. <mask> decided to leave him and told a reporter at the time that she "gave too much. I gave things I have to save for my work". She later recalled in her 1995 autobiography:

Mastroianni later told a reporter for People magazine in 1987 that he never got over his relationship with <mask>. "She was the woman I loved the most", he said. "I'll always be sorry to have lost her. I was whole with her for the first time in my life."In 1974, Dunaway married Peter Wolf, the lead singer of the rock group The J. Geils Band. Their career commitments caused frequent separations and the two divorced in 1979. She met her second husband, the British photographer Terry O'Neill, when he was assigned by People magazine to take pictures of Peter Wolf and of her in 1977. They married in 1983 and Dunaway credited O'Neill with being "the one person responsible for helping me grow up to womanhood and a healthy sense of myself". Their child, <mask> O'Neill, was born in 1980. In 2003, despite Dunaway's earlier indications that she had given birth to Liam, Terry O'Neill revealed that their son was adopted. After the divorce from O'Neill, Dunaway dated English author Frederick Forsyth.She then had a three-year relationship (1988 to 1991) with Warren Lieberfarb, Home Video president of Warner Bros. Her most recent publicized romantic attachment was with French actor Bernard Montiel in the mid-1990s. In a rare interview for Harper's Bazaar in 2016, <mask> said she felt that "it's important to have a partner, probably," but she described herself as "a loner," and added "I kind of like to be alone and do my work and, you know, be focused on my own things." <mask> is a devout Catholic and has said that she attends morning Mass regularly. She converted in 1996 and, until then, was a lifelong Protestant. Awards and nominations

Filmography

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Bibliography

Citations

Sources

External links

1941 births
20th-century American actresses
21st-century American actresses
Actresses from Florida
American film actresses
American people of English descent
American people of German descent
American people of Scotch-Irish descent
American television actresses
BAFTA Most Promising Newcomer to Leading Film Roles winners
Best Actress Academy Award winners
Best Drama Actress Golden Globe (film) winners
Best Supporting Actress Golden Globe (television) winners
Boston University College of Fine Arts alumni
Catholics from Florida
Converts to Roman Catholicism from Protestantism
David di Donatello winners
Florida State University alumni
Living people
Officiers of the Ordre des Arts et des Lettres
People from Jackson County, Florida
Primetime Emmy Award winners
University of Florida alumni
Leon High School alumni
Golden Raspberry Award

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