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Catherine Zeta-Jones has turned down several movie roles, including the chance to portray Vivien Leigh, so she can spend more time with husband Michael Douglas, who is being treated for throat cancer. This column also revealed last week that Emma Watson has a role playing Lucy, a wardrobe assistant who has a few dates with Clark. Catherine was approached by executives at Weinstein Co, the studio producing the picture with David Parfitt, to take the Vivien Leigh part.

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Based on the novel by Margaret Mitchell. Mammy Hattie McDaniel cautions Scarlett Leigh to act like a lady, and not draw too much attention to herself. But on that day, she meets a new man called Rhett Butler Clarke Gable.

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Scenes from previous Best Picture winners at the Oscars — and the people behind those films — are being viewed differently through the lens of the MeToo movement. The examples are numerous and span many decades. Miniver" shows Clem Miniver Walter Pidgeon casually spouting sexist dialogue before angrily throwing his wife Kay Greer Garson onto the bed and violently spanking her.

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Make a tax-deductible donation today and help us continue to publish online and in print. No contribution is too small. Did my mother tell me this, or was I told this firsthand by the admiring man at the photography studio?

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By Roger Lewis for the Daily Mail. Wear and tear: T he threads of my life. The din was constant.

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Based on exclusive, unprecedented access, the definitive biography of Sir Laurence Olivier, the dashing, self-invented Englishman who became the greatest actor of the twentieth century Sir Laurence Olivier met everyone, knew everyone, and played every role in existence. But Olivier was as elusive in life as he was on the stage, a bold and practiced pretender who changed names, altered his identity, and defied characterization. In this mesmerizing book, acclaimed biographer Terry Coleman draws for the first time on the vast archive of Olivier's private papers and correspondence, and those of his family, finally uncovering the history and the private self that Olivier worked so masterfully all his life to obscure.

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He had been the dandy king of post-war Oxford - a latter-day Wilde who cocked a ferociously effete snook at the drab decencies of those austere times, while clad in the kind of costuming cloak with blood-red lining; gold shirts; bottle-green suits, etc not normally associated with heterosexual boys just up from Birmingham. Even as an undergraduate, he'd deployed self-promotion techniques camera-unctuous birthday boat trips down the Thames that now look like early portents of our own celebrity culture. For a heady if brief period from tohe'd established himself as the greatest critic of the English stage since George Bernard Shaw, and he spoke with the voice of his generation when he lavished praise on John Osborne's Look Back in Anger.

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In the film, he says kissednot spanked. During the making of Gone With the Windin Mayshe took an overdose. O but I ought to be soooooo cross with you.

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Now Tynan, the brilliant writer who made his name on The Observer in the s and helped to launch a new tradition of stagecraft in Britain, is about to become the subject of a Royal Shakespeare Company play. Part of a season of new work launched this summer, the play will star Corin Redgrave as Tynan and is to cover some of the most controversial aspects of the critic's troubled life, including his affairs and his obsession with sadomasochistic sex. The production, to be adapted from Tynan's own words and directed by playwright Richard Nelson, is likely to provoke a strong reaction by bringing some of his most scandalous behind-the-scenes anecdotes - concerning some of the most respected names in British theatre - to an audience for the first time.


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